Adrian Sierkowski

In Sydney; I honestly wouldn't know. Here In La we just put it on the rental and or expendables order. Most expendables shops, catering to film, should have it, but I haven't a clue where to look in Sydney for it.

Cello is your best friend in rain. Also, I personally like swamp boxes/wood under most connections. Keep Ballasts dry, and honestly, when it's raining, bring those LEDs inside.

The T stop is the "true" stop an your meter will be reading that-- hence setting a "t" stopped lens to 5.6, if your meter tells you to will give you the proper exposure. In almost all circumstances it makes no difference between T and F stops as most will be within about 1/10th of each other, or so. It only gets hairy when dealing with zooms and some older lenses.

Probably get as good a deal on any S16mm system honestly (and I would argue there's a reason that particular camera never really went out)

Just curious why you'd want to use an Elaine. It never really was a go to camera for 16mm needs, and Panavision should have plenty of SR3s, SR3HS, 416s and Aatons

I wouldn't do HMIs; I'd do a lot of tungsten heads all on flicker boxes-- or quite a lot of skypanels, on fire FX.

I have shot with the D-21! HA! Ok the D21 was a very nice camera. But; there are 2 main issues I can see using it. It is heavy-- VERY HEAVY, which, back then wasn't as big of a problem as it is today-- but we've tended so lighweight these days that even getting tripods to support it will be very expensive (you're in O'Connor territory here). It also is 24V so you're looking at block-batteries, again, rather expensive. j As for recording; we did it ProRes to a KiPro back when that was a new thing. No need for ArriRAW ,honestly. If you wanted RAW you should look for a an Old Codex or, I think it was the called an Si or something similar-- but honestly, just pop a question to Arri about what recorders can handle it-- there should be a few around. If you want it, go for it, hell why not. It's a bit of a bear but I liked it.

Far-Side Key. 32mm Lens. White-Balance for daylight set to 7~10K (depending) Good, Static, Long (duration) shots to let the actors act. not shooting the ever-living crap out of a scene. but that's in those rare instances where I got to really work with a director and they agree. Sometimes I'm lucky and I'll get a director to agree with me that all the scene needs is one really good wide.

Remember, though, just because it has a good CRI doesn't mean it's going to look good in terms of an LED light. It's easy to get a great CRI with LED but have awful awful color on camera due to the nature of an LED spectrum. You really need to look for a TLCS (i think that's the proper acronym) which tests a wider range of the lights output to make sure the spikes in color don't kill you.

Dedo lights are also very very helpful.

Possibly. Though rarely have I had this happen to me even with permits. Normally we'd have to get on the horn to locations if/when anything went wrong. But if they already approved the project, what's the worry?

I really want to be turned into film-stock. But, when/if they ever ask if you want the hole "double deep," just say no.

You'd want as much light as possible on a normal lens in order to increase your depth of field akin to how you'd be further away from a full sized object (and thus have more depth of field). On a 10:1 scale I would probably want to be around an 11/16 for a T stop. Thankfully we're digital now so I'd say look at the monitor and see if it feels like it's properly "in focus" compared to how a real tree would look .

Pretty sure they are. I have the "deeds" to my own headstone and grave (long story), but the overriding ownership is the cemetery itself, and generally they'll set the rules-- but they could try to prohibit you. Though in truth I think it's just good manners to be respectful. As for the name of the project you shot, that's often why you work under a shooting name and when they cemetery asks, if they do, you tell them you're shooting a music video. There are times when it's better to ask forgiveness over permission, but I don't think a cemetery is generally one of those times.

In LA we just rent them, were I back in Philadelphia and the east coast, I'd just kindly go in and ask permission. I really don't see why it's that hard? There are plenty of cemetary's around and it's pretty easy to ask permission like a responsible adult. There are no more permits or laws for it, generally, though you really don't want to feature headstones without permission. If you were to just "go for it" you'd be trespassing on private property with all the intended fines and fees if anyone decided to call the police.

If director want's it moody what's wrong with letting them go dark in your wide and then when you move to your closes worry about lighting? What does the director mean by "moody" in this case?

It really won't make anything anything-- the film stock ASA is what it is. That said, yes, a BCA will give you more spectrum towards daylight (as would a Kino or an HMI and an LED) and therefore you would treat it as a 400 speed stock if that's your predominate lighting

Though you could be an amazing fisheman! Deadliest catch, body-mount edition.

yeah but when you use one all day you get to use one of those really cool exoskeletons and later-on pretend you're in a James Cameron sci-fi romp!

I'm sure the Sola probably is a 1600HMI equiv at like 2' distance. The problem with LED isn't so much the output as it is the falloff of that output. As for the center of the beam dimming-- that depends on the design of the unit but generally, yes it will dim as the angle increases, but how much is a function of the whole design (reflector and all) which is how, for example, the M40 can compete, reasonably with a former 6K HMI.

Your best way-- rent both and use a light meter. Photometrics of any lamp, specified or otherwise, will always be a bit off. Also, yes, the LED will not be as bright as a tungsten head once you start moving away from it. It's all marketing, honestly, it's marketing. The question really isn't "how does it compare to X" I think the real question is, will this unit, at this distance give me the output and spread I need for this shot given the realities (power/ rig time/ availability) of production. Beam angle wouldn't really enter into the photo metric number which would be measured center beam; generally. Sometimes some lamps may give you the photometrics of the beam edges, but, in this case, you're really just looking at a point in the center of the beam. The angle will tell you, at a given distance, how much area it will cover, but the real measure of the light won't match the spec sheet 100%

Generally after you use a ronin on one job they next one calls in a steadycam. The small ones, for small DSLRs, sure; fine but the big boys; it just doesn't have the flexibility a set really needs and when they are called on it's often a case of being penny wise and pound foolish. Now; when you're going to be doing some run and gun lifestyle thing-- stuff which may well have been on a glidecam back in the day, then sure, fine, upgrade, woo. But even then; a good steadycam op is going to give you much more bang for the buck and I don't think that perception is changing at all, honestly.

The comedy looking stuff doesn't really seem to fit into the reel at all-- I'd loose it. The Jack Daniels shot too is also too quick and sticks out a bit in a bad way. The Nike bit at the end also really doesn't work too well. Perhaps would be wise to shorten it all a bit; and maybe consider doing a commercial/MV reel and then a Narrative reel since often those two styles are much at odds. The opening shot also goes on a little too long-- and perhaps should be replaced by the guitarist falling. I would de-reverse the footage of the car going backwards down the street. without the context of the shot in the video it's from it seems off.

Could be; but It looks a little stronger in the center of the bed than would be if it were just the lamps. In any case were I to try to re-create I'd go for a toplight rig which I could turn off if the lamps in shot did the job for me.

I'd really bet on a Dedo. The Lamps are also gelled on the top to keep most of the light coming from the bottom . There's also a soft top-light in the room (possibly a Kino with Muzz or these days I'd probably use 4x4 Litemat with Muzz--- maybe 2)